Eight players. One master.

Q: Something else.

Open ⚙ › About, press copy diagnostics, and paste it into a mail to guy@adam-studio-ai.com with what you expected and what happened. It carries what the app did, never your key and never your samples.

That is the whole app. Eight players on screen, every one of them following one tempo and one key. Type what you want, press CREATE, and the band is playing. Everything else on screen is for shaping what you just heard.

The window, in one look.

Three bands. The master bar across the top runs the tempo, the key and the prompt. Eight players fill the middle, four a side. The master chain along the bottom is the mastering your track goes through on its way out.

The Adam Studio window: the master bar with the prompt and CREATE across the top, eight players in two mirrored columns each with a coloured waveform and its own channel strip, and the seven-device master chain along the bottom.

01Set up in five minutesOpen, activate, point at your samples 02Make a track in one pressThe prompt, CREATE, and the crate 03The master barTempo, key, click, play 04One playerLoop, 1-Shot, Slice, and the DJ channel 05Play it from the keysYour computer keyboard, or a MIDI one 06The piano rollEdit the parts Adam wrote, or write your own 07Slice modeChop any sample into a playable kit 08RecordYour voice, your guitar, your keys 09The master chainSeven devices, in signal order 10Scenes and screensSave moments, jump between them, 24 players 11Get it outWAV stems, MIDI, and your project 12HardwareMIDI in, clock both ways, map a controller 13Every shortcutOne table 14If something is offThe five things to check, and where to write →The workflow pageEvery control in depth, and what is coming

01Set up in five minutes.

Three things, once: open it, give it your samples, give it a key. Nothing you own is uploaded. Only file names and what you type ever leave your computer.

The AI tab of the settings window: the provider buttons and GET A KEY, the tag model and AI model rows, the API key field, CHOOSE FOLDER and ANALYZE, the library's folder chips, and the table of analysed samples with their instrument, kind, BPM, key, genre and style. — Settings › AI: your key, your folders, and everything Adam read from them

Open it. Try it, or activate it.

The first screen is the demo welcome. Press ✕ and you have the whole app for 10 minutes at a time, nothing held back. To make it yours, paste the licence key from your account page into the field and press Activate. Once, and it stays licensed.

On Windows the first launch may say Windows protected your PC. Press More info, then Run anyway. It is the installer being new to Windows, not a problem with the app.

Point it at your samples.

Press the gear ⚙ at the top right and open the AI tab. Your Mac asks for Touch ID or your password once, because this tab holds a key. Then Choose folder, pick a folder of packs however deep, and press Analyze.

Adam reads every file’s instrument, tempo, key and whether it is a loop or a one-shot and files it into eight instrument folders of its own. Your files never move. A chip appears for every folder you have fed it; press one to see only that folder, Forget folder takes it back out.

Bring your Splice folder, bring all of it. Analysis runs in the background while you keep playing, and a bigger crate is a better band.

Give it a key for CREATE.

The producer agent thinks with a model of your choosing: OpenAI, Claude or Gemini. Pick the provider on the same tab, press Get a key to open the provider’s page, make a key there, and paste it into API key. It goes into your Mac’s Keychain, never a file.

There are no credits and no monthly fee from us. A build is a handful of short text requests to the provider, at their price, which is cents. The model rows are already set to one that works; if a model says needs ID check, the provider wants a photo ID for that one, and the row above it does not.

Without a key the app still plays. Every player, the piano roll, the mixer and the analysis of your library all run without one. CREATE is the part that asks.

Choose your audio interface.

Gear ⚙ › I/O picks the audio device and the MIDI ports. If you hear nothing at all, this is the first place to look: the device may be your Mac’s speakers while your headphones are on the interface.

02Make a track in one press.

Click the prompt bar at the top right, say what you want the way you would say it to a band, and press CREATE or Return.

What to type

A sentence, not a form.

chill guitar house with a rap vocal. dark techno at 132. soulful house 122 with a rhodes melody, in F minor. Say a tempo or a key and Adam uses it. Say neither and Adam picks one that suits the vibe.

What happens

The band walks in one at a time.

First the plan lands: the tempo, the key and the eight instrument names appear on the bar and the players. Then drums, bass, harmony and melody are written in parallel, and each part starts playing the moment its writer is done.

Don’t like a sound?

Every player has a crate.

Adam found up to ten samples for each part and put the best on the player. The ‹ › arrows in the player’s header walk the other nine, in time, while the track plays. The notes stay; only the sound changes.

Don’t like the track?

Press CREATE again.

Same prompt, a new cast. Or change one word and see what moves. A press costs a few seconds and a few cents, so press it a lot: that is what it is for.

The create settings panel over the app: a row per player numbered 1 to 8 in its own colour, each with an ON switch, an instrument field reading AUTO, and AI, MIDI and RND buttons with AI lit. Along the top, ALL ON and ALL OFF, and KEEP BPM and KEEP KEY. Along the bottom, SAMPLES, ADAM and MIDI, and a RENDER 8 button. — The chevron on CREATE opens the create settings

Per player: ON / OFF

Keep what you already like.

Switch a player off and the next CREATE leaves it exactly as it is. Found the perfect kick? Switch it off and build the rest around it.

Per player: AI / MIDI / RND

Three ways to change your mind.

AI casts the player again, sample and part. MIDI keeps the sample and writes a new part for it. RND rolls a new sample out of the player’s own crate and keeps the notes, no model call at all.

Per player: the instrument

AUTO, or a lock.

Leave it on Auto and Adam decides what the player should be. Pick an instrument and that player is held to it: this one is always the 808.

Keep BPM · Keep key

Your track stays your track.

Both on by default, so a new idea arrives at the tempo and in the key you are already playing. A tempo or key typed in the prompt still wins.

All on · All off

Every player at once.

The top row sets the whole column in one press: every switch, or every mode. All-RND is the dice: eight new sounds, the parts untouched, no key needed.

Tip

Drop your own sample on a player.

Drag a file from Finder or Splice onto any player and it lands there, in time and in key. Drop four files and they fill four players in a row. Then MIDI on that player asks Adam to write a part for the sound you chose.

03The master bar.

One row across the top, and every player obeys it. Change the tempo here and eight players change tempo. Change the key and every pitched player retunes. Drums are left alone: a kick in F is still a kick.

The master bar in Adam Studio: MASTER BPM 124.0, KEY D, SCALE minor — Master BPM, key and scale

Screen

A · B · C

Three screens of eight players, 24 in all, and all of them playing at once if you like. ⌘1 ⌘2 ⌘3 switch between them.

Transport

Play and stop.

Space from anywhere. Every loop launches on the bar line, so nothing you start is ever off the grid.

Master BPM

Drag it, type it, nudge it.

Drag the number up or down, click it and type, or use − +. Every player follows, smoothly, while the track plays.

Click

The metronome, with its own level.

On for recording, off for listening. It sits next to the tempo because it is the tempo made audible.

Key · Scale

The key the whole track sits in.

Move the key and bass, chords and leads retune by the same interval. The scale is what Adam writes in: minor, major and the modes.

Oct · ▦ · ⚙

The octave, scenes, settings.

Oct shows which octave your computer keyboard is playing in. ▦ opens the scenes grid. ⚙ opens the settings window.

04One player.

Learn one and you know all eight. A player is a sample, the way it plays, and a DJ channel: three-band EQ, a filter, two sends, drive and sidechain, all of it moving while the track runs.

One player: the instrument name KICK with its file name and the crate arrows, a violet waveform across the middle, a row of Loop / 1-Shot / Slice buttons with the piano-roll key and BARS beneath it, and on the right the channel rail with HIGH, MID, LOW, FILTER, DLY, REV, DRV and SC sliders beside a vertical fader. — A player, and its channel on the right

The header

Number, instrument, file, crate.

The number is the player’s colour everywhere in the app. Click the instrument name to point the player at another instrument for the next CREATE. The file name is the sample it is playing; ‹ › walk its crate.

The waveform

Where the sample starts and ends.

Press the left third of the lit region to move its start, the right third to move its end, the middle to slide the whole region along. A four-minute song can be trimmed to the one bar you want.

Mode: Loop

It runs itself, in time.

The region loops at the master tempo, launched on the bar. Bars says how long the loop is. This is what a drum loop or a chord loop wants.

Mode: 1-Shot

It fires once, on the beat.

A kick, a hit, a vocal chop. It sounds when a note tells it to: from the piano roll, the keys, or a pad.

Mode: Slice

It becomes a kit.

The region is cut into numbered triggers you can play from the keys and sequence in the roll. Chapter 07 is all about it.

Keys · Gate · Rel

The roll, and how a note ends.

The keyboard button ⌨ opens the piano roll for this player. With Gate on, letting go of a note cuts the sound, and Rel is how softly.

TS · Pitch

Two ways to change pitch.

TS is time-stretch: a note moves the pitch and the tempo stays put, which is what a melodic loop wants. Pitch is the turntable: higher is faster, the way a sampler always did it, which is what drums want. Adam picks the right one for each sample; the pill flips it by hand.

BPM · Pitch fields

The sample’s own numbers.

BPM is the tempo the sample was made at, which is how Adam knows how much to stretch it. If a loop sounds half or double speed, this number is wrong: type the right one. Pitch transposes this player alone, in semitones.

Mono · In · Out

One note at a time, and how it fades.

Mono lets one note sound at a time, which is what a bass wants; press it and it reads Poly, so chords can ring. In and Out are short fades on each hit, the cure for a click at the start or end of a chop.

Audio / MIDI · Loop · 1234 · ●

The record cluster.

Recording, and also which player hears the keys: MIDI on a player means it is the one listening. Chapters 05 and 08.

The channel, top to bottom.

High · Mid · Low

A DJ’s three-band EQ.

Centre is flat. Left cuts, right boosts, and all the way left kills the band, the way a mixer’s isolators do. Pull the lows out of everything but the kick and the mix opens up.

Filter

One slider, both ways.

Centre is open. Left is a low-pass that closes down to a rumble, right is a high-pass that thins to air. Never both at once, the club way.

Dly · Rev

Two sends into the master devices.

How much of this player goes to the master delay and the master reverb. Throw the snare into the reverb for a bar and pull it back.

Drv

Drive, after the EQ.

Shape the band first, then drive what is left, so cutting the lows means driving less mud rather than more of it.

How much this player ducks to the kick.

Adam finds the kick and keys the sidechain to it on its own. This slider is how deep this player breathes with it. Bass and pads want some; hats usually want none.

▶ · The fader

Play this one, and how loud.

▶ starts and stops this player alone, on the next bar. The fader is the level and the meter beside it is what is actually coming out.

05Play it from the keys.

Your computer keyboard is a piano. Nothing sounds until you choose which player is listening, so typing a prompt never plays a note.

Choose the player

Set its record pill to MIDI.

Every player has a pill in its record cluster that reads Audio or MIDI. On MIDI, this player, and only this player, hears the keys and your controller.

The layout

A is C, like every DAW.

A S D F G H J K are the white keys from C, and the row above holds the sharps. Z and X move the octave down and up; the bar’s Oct shows where you are.

A MIDI keyboard

Plug it in, it plays the same player.

Any controller in ⚙ › MIDI plays the player set to MIDI. What you play can echo out to a hardware synth too: chapter 12.

06The piano roll.

Adam writes the parts. You edit them like any roll, or throw them out and write your own. Velocity is the note’s shade: a louder note is a brighter one.

The piano roll in Adam Studio with a bass line Adam wrote — A bass line, as Adam wrote it

Open it

The keyboard button, or ⇧⇥.

Press the player’s ⌨ button, or ⇧⇥ from anywhere, even from inside the prompt. The roll opens under the players in that player’s colour. Esc closes it.

Write

Click to add, drag to move, drag the end to stretch.

Drag on empty space to select a group. ⌥-drag a note up or down to set its velocity. ⌫ deletes what is selected.

Grid and snap

S and G.

S turns snap on and off, G changes the grid. Arrows move the selection: left and right in time, up and down in pitch.

Length

The brace above the grid is the pattern.

Drag its right end to make the part longer or shorter, its left end to start it later. Len in the roll’s header sets it in bars. It is separate from the sample’s own Bars on the player.

Chords

Poly when the sound is a single note.

A part written for a piano one-shot puts the player in Poly, so every note of a chord sounds. A chord sample gets one note per chord, its root, and stays Mono. Adam sets the pill by itself; you can flip it.

Undo

⌘Z, and ⌘D to double.

⌘Z undoes the last edit. ⌘D duplicates the selection right after itself, which is how a one-bar idea becomes four.

07Slice mode.

Any sample becomes a kit. Put a player in Slice and the region is cut into numbered triggers: the roll’s rows become the numbers, and the keys play them from C up.

Man

Cut it by hand.

Double-tap the waveform to drop a marker there. Double-tap a marker to remove it. Drag one to move it; hold G and it snaps to the grid you chose.

Beat

Cut it on the sample’s own grid.

Pick a division, from whole bars down to 1/32, and the markers fall on the beat. Right for a drum loop you want to re-arrange.

Trns

Cut it where the hits are.

Adam listens for the transients and puts markers on the strongest ones. The Cuts knob sets how many, spread across the whole file rather than bunched on the loud bar.

Numbering

Positional, and the notes follow.

A marker dropped between 3 and 4 becomes the new 4, and everything to its right shifts up. Notes you already wrote move with the audio they were written against.

Hand edits win

Beat and Trns fill the table; your hands own it.

Start from a Beat or Trns cut, then move one marker by hand, and the cut becomes yours: a knob can never wipe a chop you placed.

How a slice plays

To the next marker, or until you let go.

A trigger plays its chunk up to the next marker. With Gate on it stops when the note ends, through Rel.

08Record.

Sing over the loop, play your guitar into a channel, or play a part on the keys. The take comes back as a loop that is already playing, on the bar, latency measured and taken out.

Once: route your inputs

⚙ › Audio.

Pick the Default input, or send a particular socket to a particular player: the mic to player 3, the guitar to player 4. Hear on a row is input monitoring, so you can hear yourself before the red light.

The record cluster

Audio / MIDI · Loop · 1234 · ●

Audio records the room into the player. MIDI records what you play on the keys into its piano roll. Loop stops the take at the player’s loop length. 1234 counts you in for a bar. ● arms it.

An audio take

Arm, count, play, done.

Press ●, hear the count-in, play. With Loop on, the take ends at the bar and starts looping straight away, through the player’s own channel. Then EQ it, send it, sidechain it like anything else.

A MIDI take

Play the part in, then edit it.

With the pill on MIDI, the same ● records the notes you play on the keys or a controller into the player’s roll, quantised to the grid you chose. Fix a note in the roll afterwards.

09The master chain.

Along the bottom, the seven devices your whole mix goes through, drawn in the order the sound actually passes through them, left to right. The fader at the end is the master level.

Sidechain

The mix breathes with the kick.

Keyed by the kick automatically. Here you set the shape of the duck; each player’s SC slider sets how much of it that player gets.

Filter

One sweep over everything.

The same one-slider filter as a player, over the whole mix. The DJ’s build-up and drop, in one hand.

Delay

Repeats on the grid.

From 1/32 to two bars, straight, dotted or triplet, with ping-pong. What each player sends here is its Dly slider.

Reverb

A real room, three knobs.

Size, decay and damping instead of presets. Each player’s Rev slider is how far into the room it stands.

Clipper

Where the loudness comes from.

Takes the tops off the peaks cleanly, so the limiter after it has less to do and your hats stay crisp.

Compressor

Glue, with a mix knob.

Pull the mix knob back and it runs parallel: density underneath, the transients on top.

Limiter

The ceiling. On by default.

Nothing gets past it, so you can push the chain and never clip the output. Leave it on.

Tip

Every device has its own switch.

The sidechain and the limiter start on; the clipper and the compressor start off, so the track you build sounds like your samples until you ask for more. The knobs down here jump to where you click and then drag short, because a mastering move on stage has to land in one gesture.

10Scenes and screens.

A scene is a snapshot of the moment: which players were playing, their samples, their parts, every knob, the master chain, tempo and key. Save moments as you go and jump between them on the bar line, like a set.

Open the grid

▦ on the master bar.

A grid of cells. The rows are meant as songs and the columns as sections, but they are your labels: double-click a header to rename it, press + to add a row or a column.

Save a moment

Click an empty cell.

Everything that is playing right now goes into it. A player that was stopped is not part of the moment: recalling the cell leaves it alone and just stops it.

Jump to one

Click a saved cell. It waits for the bar.

Amber blink means armed and waiting; green means this is the moment the track is in. Full on the left brings the whole moment back. Ply on the right brings only the players’ sounds and parts, and leaves the mix you have been shaping since under your hands.

Three screens

A · B · C is 24 players.

Every screen is another eight players on the same master. Build the drums on A, the harmony on B, the vocal chops on C, and play across all of them.

Saved with the project

The grid rides the file.

Save the project and the scenes come with it. Open it tomorrow and the set is there.

Tip

Pads on a controller launch cells.

Map a pad grid to the scenes in ⚙ › Mapping, and an outline on the grid shows which cells the pads are pointing at. Chapter 12.

11Get it out.

WAV stems and MIDI, straight into your DAW. Or save the project and keep playing it in Adam.

The fast way

Render from the create settings, then drag.

Open the chevron on CREATE. Along the bottom, choose what you want: Adam is each player as it plays, through its channel, at the project tempo and key. Samples is the files exactly as Adam found them. MIDI is the parts, one file per player. Press Render, and when it turns into Grab, drag it onto Ableton, Logic or the Finder.

The full way

⚙ › Render.

All 24 players in one list, each set to Render or Copy, and where the files go. Stems are 24-bit WAV, all the same tempo and the same length, so they line up in any DAW. The master chain is left out of a stem on purpose: that is what a stem is.

The project

⌘S saves, ⌘N starts fresh.

⚙ › Projects has New, Open, Save and your recent projects. A project is a small file that points at your samples; it does not copy them.

If the app closes on you

It autosaves. Say yes.

Every two minutes, quietly. If Adam ever quits unexpectedly, the next launch puts a bar under the master bar offering Restore. Your idea is still there.

12Hardware.

Lock it to the gear you already own, and put the whole app under a controller’s knobs. Everything below is in the settings window.

I/O

Clock both ways, and echo.

Send clock and your drum machine follows Adam’s tempo. Follow clock and Adam takes its tempo, start and stop from your gear, downbeat included. Echo notes sends what you play on the keys out to a hardware synth.

MIDI

Which controller plays which player.

Set the Default MIDI in, or route one controller on one channel to one player, so a keyboard can play player 5 while a pad controller plays player 1.

Mapping

Any knob on your desk moves any control here.

Press MIDI map. The window dims and every mappable control lights blue. Click a control, move a knob, done. Faders, sends, EQ, the master chain, the transport, CREATE, the scenes grid: roughly 330 targets.

Pickup, and the smart channel

One knob for all eight players.

A mapped knob waits until the hardware passes the value on screen, so nothing jumps; an amber mark shows where the knob is until it catches up. Map the smart channel and one set of knobs shapes whichever player you last touched.

13Every shortcut.

Keys	What it does	Where
`Space`	Play and stop the transport	Anywhere
`Return`	CREATE, from inside the prompt	The prompt bar
`⇧⇥`	Open and close the piano roll	Anywhere, even inside the prompt
`⌘1` `⌘2` `⌘3`	Screen A, B, C	Anywhere
`⌘S` · `⌘N`	Save the project · New project	Anywhere
`A` to `K`, `W` `E` `T` `Y` `U`	Play the player set to MIDI, C upward, sharps on the row above	Anywhere but the prompt
`Z` · `X`	Keyboard octave down · up	Anywhere but the prompt
`S` · `G`	Snap on and off · change the grid	The piano roll
`←` `→` `↑` `↓`	Move the selected notes in time · transpose them	The piano roll
`⌥`-drag	Set a note’s velocity	The piano roll
`⌘D` · `⌘Z`	Duplicate the selection · undo	The piano roll
`⌫`	Delete the selected notes, marker, or scene row	The roll, the waveform, the scenes grid
Double-tap	Add a slice marker, or remove the one under the pointer	The waveform, in Slice
`Esc`	Close the roll, the create settings, the scenes grid, map mode	Whatever is open

On Windows, read ⌘ as Ctrl and ⌥ as Alt.

14If something is off.

Five things cover almost everything. And if they do not, write to us: a real person answers.

I hear nothing at all.

⚙ › I/O: is the audio device the one your headphones are on? Then the master fader at the bottom right, then the transport. A single silent player is usually its own ▶ or its fader.

The keys play nothing.

No player is listening. Set one player’s record pill to MIDI. If the prompt bar is focused, click anywhere else first: while you type, the letters are letters.

CREATE says the model refused, or nothing arrives.

The message under the prompt says why in plain words. The usual two: the provider wants a photo ID for that model (pick one in ⚙ › AI that does not say needs ID check), or the account at the provider has no credit on it yet. Check the key is pasted whole.

A loop sounds half speed, or double.

The player’s BPM field is the tempo the sample was made at, and it was read from the file name. If the name lied, type the right number and the stretch is right too.

CREATE finds nothing for an instrument.

The library has nothing filed under it. ⚙ › AI shows the table: press a folder chip and read the Instrument column. Analyse a folder that has that instrument in it, or drop a sample on the player by hand.

Something else.

Open ⚙ › About, press copy diagnostics, and paste it into a mail to guy@adam-studio-ai.com with what you expected and what happened. It carries what the app did, never your key and never your samples.

Now go make something.

Eight players, one master, and your own samples. Type a vibe and press CREATE.

One licence, one computer at a time, yours to move · Works offline · VST3 and AU plugins included on Mac